The Downloading Portal
News, Views, and Musical Journeys

Welcome to iRevue, your guide to the world of downloading. Each fortnight, we
will examine the iTunes charts in the U.K. and provide you with the latest news,
views, and reviews of the most downloaded singles, tracks, albums, and podcasts.
Our goal is to highlight an eclectic mix of musical genres and artists, both new
and old, that will help and encourage you to get the most out of your MP3
player.

Editor’s Note: Our "New Musical Journeys
and Inspirations" feature has been suspended for several issues so that we can
devote more space to the overwhelming slate of new albums and singles that are
scheduled for release.

November 6th, 2006

Over the course of the past week, the major labels have ramped up their album
release schedules, though, as is customary at this time of year, not all of the
material that is hitting virtual store shelves is new. Customers are being
bombarded from all directions with a wide assortment of greatest hits
collections — all of which are being heavily advertised on television and,
rather annoyingly, are filtering into nearly every prime time program. The U.K.
version of X-Factor, for example, has featured a different musical theme
in each of its first three episodes. Rod Stewart, Tony Bennett, and Abba’s Björn
Ulvaeus have all lent time to helping the contestants. Not so coincidentally,
however, each also has released a "best of" package in the week immediately
following the show’s airing. Finally, as if to add fuel to the cynical fire,
some U.K. bookmakers have stopped taking bets on the coveted #1 slot for
Christmas because an unknown song from an unknown artist very well might achieve
that lofty position; as it turns out, whoever wins the current edition of X-Factor will release a single in time for the holidays. Thankfully, none of
the albums in question have made any impact upon the download charts. Long may
it continue.

Top Downloaded Tracks

Considering the increased focus upon albums, it isn’t surprising that the
singles market has experienced a slowdown in new releases, and subsequently,
only a handful of notable changes have occurred on the corresponding download
charts. The first of these is Rock Steady, the newest release from the
recently re-formed outfit All Saints. As one of the early risers in the ’90s
wave of British, all-girl bands, All Saints was, at one time, on par with the
Spice Girls as the U.K.’s leading female combo. Unfortunately, Rock Steady
is a rather bland tune that likely won’t achieve the heights of the group’s
critically acclaimed 1999 hit Never Ever.

Another uninspiring track that has featured heavily in recent weeks is
Smack That by Akon. Though it boasts a guest appearance by Eminem, the
Detroit rapper’s presence is limited to a few token lines that are scattered
throughout the tune. As such, it relies solely on the continued hype surrounding
the latter artist, rather than the talents of the former collective.

One new song that is worth investigating is The Saints Are Coming by
U2 & Green Day. This cover of the classic track by The Skids has been recorded
and released in order to raise funds for musicians who lost their instruments in
the wake of Hurricane Katrina. The collaboration works surprisingly well because
Green Day’s edgy guitars amplify the political undertones that are brought to mind by
Bono. Not only does the tune do justice to the original recording, but it also
stands as a rare musical event — a charity single that succeeds on its own
merits.

Video singles that have been released this week include Justin Timberlake’sMy Love as well as the now dated but still fun "Weird Al" Yankovic with
White & Nerdy. The excellent original video for Kasabian’s single
Shoot the Runner is, however, the pick of the current crop.

Album Download Chart

With so many album releases over the last 14 days, it is difficult to
identify just two or three endeavors that are worth noting. However, from
amongst the onslaught of new compilations that are available, a few do deserve
further investigation.

During the past 30 years, Paul Weller has been one of the most prolific
British artists, and the boxed set Hit Parade places his biggest-selling
songs in one handy package. Weller already has had success with a greatest hits
collection; his 2003 endeavor Modern Classics served as an overview of
his solo material. Hit Parade, on the other hand, spans Weller’s entire
career, and as such, it combines tracks from The Jam and The Style Council with
an array of his solo selections.

Hit Parade features no fewer than 67 tracks, and it effectively charts
the progress of one of the U.K.’s best-loved and most diverse
singer/songwriters. From the under-produced, full-charging post-punk sounds of
The Jam to the uplifting refrains of The Style Council to the mature reflections
of his solo work, Hit Parade highlights the complete range of Weller’s
abilities. No matter what guise his music has assumed — be it the angry, young
man behind The Jam; the mellowed but sarcastic leader of The Style Council; or
the mature songwriter who has conveyed his intimate, considered thoughts as a
solo artist — Weller has used his songs to challenge political points of view.
Hit Parade not only provides a snapshot of Weller’s career thus far, but
it also serves as a time line of the British music scene. Key tracks include
The Modern World, Going Underground, Town Called Malice,
Shout to the Top, Walls Come Tumbling Down, Broken Stones, and
Wild Wood. (Editor's Note: Hit Parade is slated for
release via Yep Roc on January 23, 2007 in the U.S.).

Secondly, Jamiroquai has released a compilation called High Times: Singles
1992–2006. This is a surprising collection in that upon scanning through the
tracks it becomes clear that the Manchester-born front man Jason Kay (a.k.a. J.K.)
actually has produced music that defies the bad-boy, sports-car-crashing thug,
which is how he typically is portrayed by the British media. When heard without
this prejudice, Jamiroquai’s material can be viewed as credible pop-funk of the
highest quality. Using the work of Stevie Wonder as a reference point, Kay has
refined and modernized the sound of ’70s funk-rock, and the band’s frequently
stunning production yields a stylish, polished ambience. High Times: Singles
1992–2006 will surprise those who might have forgotten just how many popular
hits Jamiroquai has had over the years. Key tracks include When You Gonna
Learn?, Too Young To Die, Virtual Insanity, Alright,
Deeper Underground, and Runaway.

Other compilations that currently are popular include Girls Aloud’s The
Sound of Girls Aloud, Moby’s Go: The Very Best of Moby, and although
they haven’t been released yet, both Oasis’Stop the Clocks and U2’s
18 Singles are obtaining a lot of pre-sale attention.

Among the new, non-compilation outings that have been released recently are
endeavors by Irish singer/songwriter Damien Rice, The Magic Numbers, and
Madeleine Peyroux. After a relatively long absence, Rice finally has issued the
follow-up to his successful debut O, and 9 currently occupies the
top slot on the album charts. Simply put, it is another helping of acoustic
artistry. Using thought-provoking and sometimes very personal lyrics, Rice once
again has provided the listener with a subconscious visual landscape onto which
he paints many scenes and scenarios. Often one is transported into Rice’s
childhood, his travels, and his deepest emotional experiences. Placed against a
barren but beautifully simple acoustic backing, his voice becomes the focus of
attention on each track. Rice also employs another sonic trick by often singing
so quietly that the listener has to concentrate very hard on his lyrics, and the
end result is that each piece assumes a rare, intimate quality. That is not to
say that Rice does not occasionally belt out a few choruses; he can raise the
volume when a moment’s emotions demand it. While a four-year gap between sets
may be unusual, especially considering the success of his debut, it is apparent
that Rice admirably has forgone commercial pressures in order to produce a
worthy sophomore set. 9 was well worth the wait. Key tracks include 9
Crimes; Rootless Trees; Me, My Yoke, and I; and Grey Room.

The Magic Numbers’ sophomore outing Those the Brokes comes hot on the
heels of the band’s highly acclaimed eponymous effort, which was released just
last year. Once again, the retro-minded group pays homage to the summery,
’60s-imbued sounds of The Mamas and the Papas and The Beach Boys. More
commercially viable than The Flaming Lips, the ensemble’s emphasis clearly is on
foot-tapping beats and lush harmonies that elevate rather than confuse
listeners. Those the Brokes is a well executed idea, and while it doesn’t
challenge any musical boundaries, it does create a jaunty, happy mood. Key
tracks include Take a Chance, Boy, Runnin’ Out, and
Goodnight.

As an aside, iTunes recently has made available an exclusive pre-release
rendition of Wait, an EP by The Polyphonic Spree. Similar in style to The
Magic Numbers, this enormous sounding choir, which boasts more than 20 members,
also re-creates the sounds of the ’60s by blending strong harmonies with simple
but pleasing arrangements.

Finally, Madeleine Peyroux is an unusual artist who has captured the
imagination of the downloading public in the past two weeks. She has been
marketed as a jazz performer, though her voice firmly places her within the
blues genre. Nevertheless, her new set Half the Perfect World has turned
up in neither of these places; instead, it has entered the pop charts, where it
has remained since its release. Upon hearing the endeavor, it immediately
becomes apparent as Peyroux has managed to crossover into the mainstream with
such ease. Granted, the sumptuously photographed, commercially appealing album
sleeve will attract the attention of many, and it likely will befuddle buyers
once they have listened to the first track. However, exposing new listeners to a
new style of music in this manner can only be a good thing, surely, and it would
seem that, once the initial shock has worn off, many like what they have heard.

For just about any new female artist venturing into the jazz and blues veins,
comparisons to Billie Holiday come with the territory, but Peyroux’s vocals do
bear (perhaps unfortunately for her) an extraordinary resemblance. Her vintage
inflections crawl through each track, leaving in their wake a lazy, smoky
texture that belies her 20-something years of age. Using her talent as a
singer/songwriter, she refreshingly commingles her own material with sturdy
interpretations of the classics. In addition, her duet with k.d. lang on Joni
Mitchell’sRiver not only provides an interesting combination of vocal
styles, but it also offers a welcome return to form for Lang. Key tracks include
I’m Alright, Blue Alert, River, California Rain, and
I Think It’s Gonna Rain Today.